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WINTERS 


03  PROCESS  OF 


AIN'T! 


I 


Hints  to  Young  Painters. 


HINTS  TO  YOUNG  PAINTERS, 


AND  THE 


PROCESS  OF  PORTRAIT-PAINTING 


AS  PRACTICED  BY  THE  LATE 


THOMAS  SULLY. 


PHILADELPHIA 

J.  M.  STODDART  & CO. 
1873. 


Entered  according  to  Act  of  Congress,  in  the  year  1873,  by 
J.  M.  STODDART  & CO., 

In  the  office  of  the  Librarian  of  Congress,  at  Washington. 


GETTY  CENTER 
LIBRARY 


PREFACE. 


npHESE  “Hints  to  Young  Painters”  were 
prepared  for  the  press  by  the  late  Thomas 
Sully  in  the  year  1851,  and  revised  by  him  in 
1871,  but  they  were  not,  during  his  lifetime, 
placed  in  the  hands  of  any  publisher.  Their 
merit  lies  in  their  brevity  and  clearness,  and 
they  are  addressed  especially  to  young  artists, 
who  will  find  in  them  much  useful  information. 
Knowing  the  deep  interest  that  was  felt  by  the 
profession  in  every  word  spoken  or  written  by 
the  venerable  painter,  it  has  been  deemed  best 
to  add  to  the  “ Hints  ” a few  notes  on  the  prep- 
aration of  canvas  and  vehicles,  gleaned  from  his 
copious  memoirs.  These  will  interest  the  ac- 
complished professor,  as  well  as  the  inexperi- 
enced amateur,  and  may  prove  of  service  to 
both. 

F.  T.  S.  D. 

December , 1872. 

7 


Hints  to  Young  Painters. 


PART  I. 


HE  experience  I have  had  in  portrait- 


painting enables  me  to  recommend  the 
manner  of  practice  by  stating  particulars  that 
may  instruct  or  interest  beginners.  Perhaps  I 
shall  occasionally  mention  trifles,  but  I will  ven- 
ture the  risk  of  doing  so  in  my  desire  to  be 
useful. 

I will  first  treat  of  the  painting-room.  A 
north  light  is  the  best.  I should  prefer  a win- 
dow that  was  situated  in  the  middle  of  the 
north  side  of  a large  room. 

I take  it  for  granted  that  the  beginner  has 
partly  fitted  himself  under  the  tuition  of  an  able 


9 


10 


HINTS  TO  YOUNG  PAINTERS. 


professor,  and  that  he  has  acquired  the  power 
to  draw  from  memory  the  human  figure  in 
any  position.  This  being  attained,  painting 
will  be  easily  acquired  ; without  this  power,  the 
painter  will  be  frequently  perplexed,  and  liable 
to  error.  A knowledge  of  perspective  is  re- 
quisite. The  ability  to  draw  animals,  particu- 
larly the  dog  and  the  horse,  and  some  know- 
ledge of  landscape-painting,  will  be  found  of 
service.  A knowledge  of  anatomy  will  be  very 
useful. 

The  articles  required  by  the  beginner  are  the 
following:  an  easel  (I  prefer  one  that  stands 
upright) ; a maul,  or  resting  stick  ; a palette,  and 
brushes  of  various  sizes ; sticks,  or  crayons  of 
charcoal ; crayons  that  are  used  by  those  who 
draw  upon  stone ; palette  knives  (three  will 
do)  ; a foot-rule ; and  compasses.  These  ar- 
ticles may  be  had  at  any  artists’  furnishing- 
store. 

I use  a plate-glass  slab,  with  a muller,  to 
grind  precious  color  on,  and  to  set  my  palette 
for  painting;  I clean  it  with  spirits  of  tur- 


[Photographed  from  a pencil  sketch  made  by  Mr.  Sully  in  his  90th  year.] 


Pencil  Stand. 


In  this  Stand  there  is  a place  for  the  Palette,  and  a flap  to  shelter  it.  On  the  top 
is  a place  for  the  Palette  Knives,  Rags  and  Slate  Book. 

Height,  2 feet  6 inches.  The  Table  Part,  2 feet  4 inches  by  1 foot  4 inches. 

Note. — Mr.  Sully  used  a pencil  stand  of  the  above  form  for  many  years,  and 
highly  recommended  it  to  his  artist  friends.  The  oval  box  on  top  is  divided  into  a 
number  of  compartments,  to  hold  brushes  of  different  sizes  and  qualities.  The  table 
top  is  surrounded  by  a ledge. 


HINTS  TO  YOUNG  PAINTERS. 


*3 


pentine.  The  plate  glass  should  have  white 
cloth  glued  on  back,  to  prevent  its  sliding  on 
the  table ; the  table  also  should  be  covered 
with  a cloth.  I keep  a small  slate-book  on 
the  pencil-table,  in  which  I write  such  mem- 
oranda as  occur  during  each  day  of  the 
week,  which  I register  ; if  worth  keeping,  I re- 
cord them  in  the  proper  books.  Keep  plenty 
of  clean  rags  at  hand,  which  are  needed  for 
cleaning  the  palette  and  slab ; these  should  be 
cleaned  every  day  after  using  them.  Some  of 
the  tints  and  colors  that  are  left  may  be  put 
away  for  the  following  day  by  means  of  a small 
saucer.  Place  this  in  a deep  plate  and  cover  it 
with  water ; by  this  method  the  colors  will  keep 
a day  or  two.  The  palette  should  be  cleaned 
with  a rag  and  linseed  oil.  The  flag,  or  glass 
slab,  must  be  cleaned  with  spirits  of  turpentine. 
When  I paint,  I use  no  other  liquid  than  a mix- 
ture of  drying-oil  and  spirits  of  turpentine  in 
equal  quantities,  but  it  should  be  used  sparingly. 
Keep  this  mixture  in  a small  bottle,  and  it  will 
last  many  days. 


HINTS  TO  YOUNG  PAINTERS. 


The  accompanying  strip  of  measurements  I 
have  found  useful.  These  measurements  are 
intended  for  a bust-size  canvas — 30  by  25 — and 
it  will  be  observed  that  on  the  strip  for  male 
portraits  the  proportions  are  larger  than  on 
that  for  females.  Should  the  person  be  tall 
or  short,  place  the  measurement  accordingly, 
except  the  one  from  the  top  of  the  canvas. 

Common  soap  is  the  best  to  wash  the  brushes 
with.  Keep  a jar  of  water,  into  which  drop 
small  pieces  of  soap.  If  you  have  not  time  to 
wash  your  brushes  when  required,  put  them 
into  this  mixture.  If  the  soap  has  melted,  the 
brushes  may  remain  two  or  three  days  without 
injury. 

When  washed,  rinse  them  in  pure  water  and 
dry  them  with  a cloth , then  draw  them  through 
the  mouth,  to  shape  them  to  a point.  If  neces- 
sary, wind  a thread  round  the  brush.  Finally, 
place  them  according  to  order  in  the  pencil- 
stand. 

Having  detailed  every  preparation  required 
for  painting,  we  will  proceed  to  the  use  thereof. 


HINTS  TO  YOUNG  PAINTERS. 


15 


When  the  person  calls  on  you  to  make 
arrangements  for  the  intended  portrait,  observe 
the  general  manner,  etc.,  so  that  you  may  de- 
termine the  attitude  you  had  best  adopt.  The 
first  sitting  may  be  short,  as  pencil  sketches  on 
paper,  of  different  views  of  the  person,  will  be 
sufficient  to  determine  the  position  of  the  por- 
trait. 

At  the  next  sitting  make  a careful  drawing  of 
the  person  on  a gray  canvas  (kept  for  that  par- 
ticular purpose).  It  should  be  of  a middle  tint, 
made  of  white,  and  black  mixed  with  white : it 
must  not  shine.  This  study  must  be  made  in 
charcoal,  with  its  proper  effect  of  shadow  re- 
lieved with  white  chalk,  using  for  the  middle 
tint  the  color  of  the  canvas.  The  drapery,  also 
— if  the  time  will  allow — should  be  put  in.  I find 
that  two  hours  is  long  enough  to  detain  the 
sitter.  I seldom  exceed  that  time ; and  six 
sittings  of  two  hours  each  is  the  time  I require. 
When  alone,  begin  the  portrait  from  memory, 
fix  the  place  on  the  canvas  by  means  of  the 
strips  of  measurement  from  the  top  of  the 


1 6 HINTS  TO  YOUNG  PAINTERS. 

canvas  and  the  other  narks  of  distances  ; if  the 
person  is  tall  or  sh,  t,  place  the  head  accord- 
ingly. The  drawing  made  from  the  person  in 
charcoal  and  chalk  will  enable  you  to  paint  in 
the  effect  of  the  picture  with  burnt  umber  on  a 
white  ground  (some  prefer  a colored  ground). 
Paint  freely,  as  if  you  were  using  water-colors, 
not  too  exact,  but  in  a sketchy  manner. 

In  this  process  I use  a mixture  of  drying-oil 
and  spirits  of  turpentine  in  equal  portions,  to 
moisten  my  brush  as  occasion  requii  \ (In  all 
painting  I use  only  this  mixture.)  This  prepa- 
ration may  take  two  days  to  dry.  Sometimes 
I hasten  this  effect  by  placing  my  picture  in  the 
sun,  sheltered  from  the  dust,  by  the  window, 
and  in  winter  I expose  the  picture  to  the  fire. 
I recommend  the  use  of  large  brushes. 

In  the  next  sitting  tints  are  to  be  used,  and 
all  inaccuracies  corrected;  while,  of  course,  the 
likeness  is  to  be  made  as  close  and  character- 
istic as  possible. 

The  following  tints  I use  in  the  next  paint- 
ing: 


I lei  lorn  Ochre  & While \ £2  Daw  Umlei-  Sb  more  Wl/itr . 

2.  Burnt  Terra  d ' 'Sienna  dJllnlc.  TO.  Ditto  <fa 
1.  Fttramarin  c (or  perrrurnent  hhie  t white  11.  Ditto  fl° 

4 Burnt  7'erra  cV  Siernia.  12 Ditto  widen  little  burnt  Id  'Mama 

0.  Chinese  Tennilion.  H Turn  {Tara  d’tfcmm  & Jftop  Umber . 

6.  Indian  Ded.  rl.  Flair.  White . 

1.  Daw  Fmher.  D.  Yellow  Ochre < 

1-  Da  w lumber  & White.  C.  Ivory  Bl/rcJe  . 


HINTS  TO  YOUNG  PAINTERS. 


*9 


The  principal  colors  from  which  these  tints 
are  made  are  white,  yellow  ochre  (by  the  way, 
this  color  will  not  keep  under  water),  ultramarine 
(or  permanent  blue),  vermilion,  Indian  red,  raw 
umber,  ivorv-black  and  burnt  umber.  These 
are  sold  in  compressible  tubes. 

In  the  use  of  burnt  umber  in  the  first  paint- 
ing, the  color  in  some  places,  being  much  diluted 
with  the  liquid  mixture,  is  inclined  to  run.  To 
prevent  this,  I place  the  work  horizontally  for 
an  hour  or  two. 

As  I have  previously  mentioned,  in  the  next 
sitting  from  the  life,  tints  are  to  be  used.  See 
the  “ Palette  ” on  preceding  page. 

Manner  of  proceeding  with  the  first  coloring : 
Cover  all  the  forehead  with  the  tint  No.  2,  and 
use  No.  1 to  increase  the  light  on  such  parts  as 
require  it.  The  first  light  shadow  will  be  Nos. 
2 and  3,  mixed ; make  the  blue  tint,  No.  3,  more 
pure  on  the  temple.  The  white  of  the  eye, 
with  Nos.  2 and  3 and,  perhaps,  a little  white. 
If  it  be  a blue  .eye,  use  black  and  No.  3.  In  a 
delicate  complexion  the  mixture  of  2 and  3 


20 


HINTS  TO  YOUNG  PAINTERS. 


may  extend  to  the  lower  part  of  the  face.  No. 
1 1 will  increase  the  strength  of  the  shadows, 
and  No.  iowill  increase  it  further;  No.  9,  ditto, 
particularly  where  the  shadows  are  of  a cool 
tint.  Perhaps  the  shadows  in  some  places  will 
require  a warmer  hue;  then  13  and  12  will  be 
found  useful  (they  have  a little  burnt  terra 
sienna  in  the  raw  umber  tints).  Having  ad- 
justed the  shadows,  a little  vermilion  and  white 
may  be  scratched  on  the  cheek  and  on  the  lips. 

The  drapery  and  background  should  now 
be  painted.  These  may  be  executed  from  the 
sketch  made  from  the  life.  If  it  is  a large 
picture  where  more  of  the  person  is  seen,  the 
drapery  must  be  painted  from  an  exact  study 
made  from  the  person.  The  color  of  the  back- 
ground should  be  either  darker  or  lighter  than 
the  head  or  drapery.  In  the  former  painting 
the  hair  must  be  painted,  the  color  of  which 
must  be  a matter  of  judgment,  as  hair  is  of 
so  many  different  colors  that  no  rule  can  be 
offered.  Burnt  umber  is  an  excellent  color  for 
that  purpose  ; and  Vandyke  brown,  for  dark 


HINTS  TO  YOUNG  PAINTERS. 


21 


shadows,  is  excellent,  but  it  is  a bad  dryer,  and 
I have  reluctantly  abandoned  the  use  of  it. 

We  come  now  to  the  sixth  and  last  sitting.  In 
painting  this,  the  same  palette  of  tints  is  used, 
with  the  addition  of  asphaltum  and  madder 
lake.  These  are  glazing  colors,  and  may  be 
used  to  darken  and  improve  the  shadows  of  the 
flesh  tints.  The  hair  and  drapery  may  be 
glazed  with  the  mixture  of  asphaltum  and  mad- 
der lake.  To  the  bottom  of  the  burnt  terra 
sienna  add  two  tints,  also  to  the  blue  tint  and 
the  vermilion.  These  tints  may  be  employed 
here  and  there  in  improving  the  color. 

The  complexion  is  a part  of  the  likeness. 
The  tints  which  I have  arranged  are  for  a light 
complexion ; I merely  strengthen  the  tints,  and 
add  Indian  red  to  the  vermilion,  for  dark  com- 
plexions. 

The  last  operation  of  the  painter  is  to  var- 
nish his  picture. 

Suffer  the  picture  to  dry  for  about  four  or 
five  weeks.  Should  it  remain  without  varnish- 
ing for  years,  it  will  not  suffer  for  the  want  of 


22 


HINTS  TO  YOUNG  PAINTERS. 


it ; it  will  only  look  dull,  and  some  colors  will 
not  show  their  effect. 

A hard  varnish,  such  as  copal,  is  not  suitable 
for  a portrait.  Mastic  varnish  and  gum-de-mar 
varnish  are  good.  I prefer  mastic  varnish.  If 
it  requires  to  be  more  liquid,  thin  it  with  spirits 
of  turpentine. 

When  preparing  to  varnish,  first  apply  raw 
potato  to  the  picture,  which  effectually  cleans  it 
from  soil  of  all  kinds.  (This  is  the  discovery  of 
an  American  painter  by  the  name  of  Rand,  who 
also  invented  the  compressible  tubes.)  The 
raw  potato  must  be  peeled  and  rubbed  on 
the  painting ; by  dividing  the  potato  into  thin 
slices,  the  picture  may  be  covered  with  the 
juice.  This  juice  must  be  washed  off  with  pure 
water,  and  entirely  dried  with  a piece  of  chamois 
leather.  The  picture  is  then  prepared  for  the 
varnish. 

I recommend  a flat  varnish-brush,  made  of 
hog’s  bristles.  In  applying  the  varnish,  move  the 
brush  from  corner  to  corner,  by  which  it  may 
be  laid  evenly.  This  will  dry  in  two  or  three 


HINTS  TO  YOUNG  PAINTERS . 


23 


days ; expose  it  for  that  purpose  to  the  sun  (see 
that  the  dust  is  not  admitted)  ; in  the  winter 
expose  it  to  the  fire  for  a day  or  two..  In  three 
or  four  days  the  varnish  will  become  dry.  For 
a varnishing-cup  the  apothecaries  can  supply  an 
excellent  article  in  the  form  of  a saucer  with  a 
lip  to  it,  in  order  to  pour  out  a liquid,  so  that  if 
any  varnish  is  left  in  the  saucer,  it  may  be 
poured  back  into  the  bottle.  Wash  the  brush 
and  saucer  with  common  soap. 

Should  the  surface  of  the  picture  become 
cloudy,  or,  as  it  is  called,  “ bloom,”  clean  it  off 
with  a silk  handkerchief;  or  if  that  will  not  do, 
a thin  coat  of  turpentine  and  varnish  will  re- 
move the  blooming. 

I would  earnestly  recommend  the  student 
of  painting  to  read  the  lectures  of  Sir  Joshua 
Reynolds  and  the  works  of  Burnet. 

A lay-figure,  or  manikin,  will  aid  the  painter 
in  painting  drapery.  In  a lay-figure  there  are 
places  to  strengthen  the  limbs  by  the  action  of 
a turn-screw  acting  on  the  screws  connected 
with  the  figure.  Moths  are  driven  from  the 


24 


HINTS  TO  YOUNG  PAINTERS. 


figure  by  dipping  rags  in  spirits  of  turpentine 
and  fastening  them  to  the  figure. 

I have  discovered  an  excellent  preparation 
to  cover  a discarded  picture : a portion  of  white 
lead,  ground  in  skimmed  milk  to  the  consistency 
of  jelly,  will  effectually  cover  the  surface  of  a dis- 
carded picture  and  enable  the  painter  to  make 
a new  picture  upon  the  same  canvas.  I have 
prepared  new  canvas  according  to  the  same 
mixture,  and  with  entire  satisfaction.  After  the 
first  coat  of  paint  is  laid  with  this  mixture, 
which  will  dry  in  about  an  hour,  the  pumice 
stone  should  be  used  to  grind  off  the  lumps  of 
thread  that  may  injure  the  level  surface.  The 
next  painting  it  would  be  well  to  mix  a little 
vermilion  with  the  paste,  in  order  to  see  that 
you  have  covered  the  canvas  regularly.  I have 
used  this  mixture  since  the  year  1840.  The 
canvas  imported  is  liable  to  crack. 

The  late  Rembrandt  Peale  gave  me  an  excel- 
lent receipt  to  prepare  canvas.  Prepare,  in  a 
sauce-pan,  paste  in  the  usual  way;  first  subdue 
all  the  lumps  of  flour  that  may  be  in  the  mix- 


HINTS  TO  YOUNG  PAINTERS. 


25 


ture.  Place  the  pan  on  the  fire,  and  the  instant 
it  begins  to  boil  take  it  off,  and  pour  into  it  a 
small  portion  of  Venice  turpentine  that  has  been 
warming  by  the  fire,  and  stir  up  the  mixture. 
The  proportions  are  about  a teacupful  of  tur- 
pentine of  Venice  to  a full  measure  of  a quart 
of  paste.  This  mixture  should  at  once  be  ap- 
plied to  the  canvas  while  it  is  hot.  When  cold, 
the  pumice  stone  should  be  employed  to  level 
the  surface ; after  which,  the  paint  intended  for 
the  ground  should  be  put  on  with  a brush  and 
leveled  with  a spatula. 

THOS.  SULLY. 

Philadelphia,  June,  1871. 


PART  II. 

IV  /T  ACGUILP — named  after  its  inventor — 
^ is  the  vehicle  most  commonly  used  by 
artists  to  moisten  the  colors  while  painting  and 
to  assist  the  application  of  glazing.  It  is  com- 
posed of  equal  proportions  of  mastic  varnish 
and  drying-oil,  thoroughly  blended  together. 

A good  macguilp  is  made  by  dissolving  bees- 
wax in  mastic  varnish  or  in  drying-oil,  in  the 
proportion  of  a piece  of  wax  the  size  of  a hazel- 
nut, to  a spoonful  of  the  liquid. 

Another  macguilp  is  made  of  wrater  saturated 
with  sugar  of  lead,  an  equal  quantity  of  mastic 
varnish  and  three-fourths  of  the  quantity  of  lin- 
seed oil.  It  dries  well. 

Baron  Schroeder  gave  me  the  following  re- 
ceipt to  make  “painter’s  butter,”  which  is  much 
used  by  the  German  artists : T\yo  parts  for  two 

27 


2 8 


HINTS  TO  YOUNG  PAINTERS. 


ounces)  of  nut  oil,  one  part  (or  ounce)  of  gum 
mastic  in  drops,  and  as  much  sugar  of  lead  as 
might  lie  on  a twenty-five-cent  piece.  Put  the 
two  first-named  articles  into  a vessel  of  hot 
water  (the  mixture  must  be  in  a phial).  The 
water  must  be  kept  boiling,  so  as  to  dissolve 
the  mastic ; then  drop  in  the  sugar  of  lead,  but 
avoid  the  consequent  fumes  from  the  lead,  which 
by  this  treatment  parts  with  all  its  noxious  qual- 
ities, retaining  only  its  drying  property.  When 
the  mixture  is  quite  dissolved,  pour  it  into  a 
vessel  of  cold  water.  The  mixture  will  keep 
together,  and  must  be  skimmed  off  the  water. 
It  is  then  fit  for  use. 

Mastic  varnish  is  thus  prepared:  Choose  the 
gum  mastic  in  drops  that  are  transparent.  It 
comes  in  the  form  ot  tears,  and  can  be  had  at 
any  apothecary’s.  To  35  ounces  of  rectified 
spirits  of  turpentine  add  12  ounces  of  the  gum, 
pulverized,  and  half  an  ounce  of  camphor  gum. 
Expose  this  to  the  warm  sun  for  a few  days  and 
they  will  mix.  Or  you  may  subject  the  same 
compound  to  a vessel  filled  with  water,  made 


HINTS  TO  YOUNG  PAINTERS. 


29 


at  first  a little  warm,  which  must  afterward  be 
increased  to  a boiling  state  for  one  or  two 
hours.  It  must  be  stirred  occasionally  with  a 
stick.  Mastic  varnish  newly  prepared  is  not  so 
good  nor  so  fit  for  use  as  that  which  is  a year 
old.  The  gum  camphor  facilitates  the  dissolv^ 
ing  of  the  ingredients  of  the  varnish. 

The  desideratum  for  the  best  kind  of  varnish 
for  oil  paintings  has  for  a long  time  been  the 
plague  of  artists.  Some  are  advocates  for  “ egg 
varnish”  for  the  covering  of  a newly-painted  pic- 
ture. I believe  this  to  be  pernicious.  Some 
recommend  copal  varnish,  made  by  the  mixture 
of  turpentine  instead  of  alcohol,  and  used  when 
made  thin  by  added  turpentine.  I prefer  mastic 
varnish  to  any  of  the  foregoing;  but  the  very 
best  varnish  I have  met  with  is  made  of  the 
gum  de  mar  dissolved  in  spirits  of  turpentine. 
It  preserves  its  gloss  and  transparency,  is  not 
given  to  mildew,  is  easily  removed  from  the  sur- 
face of  a picture  and  can  be  applied  without  risk 
to  freshly-painted  work.  This  varnish  is  much 
used  in  the  United  States,  and  almost  univer- 


30 


HINTS  TO  YOUNG  PAINTERS. 


sally  in  Germany.  But  it  will  not,  by  the  use 
of  any  adjunct,  make  macguilp. 

Baron  Schrceder  confirms  the  good  character 
I had  heard  of  the  white  varnish,  so  generally 
employed  in  Germany.  It  is  made  of  the  gum 
de  mar,  according  to  the  following  method  : 
To  about  as  much  of  the  gum  as  would  fill  a* 
tablespoon  add  half  a pint  of  spirits  of  turpen- 
tine and  half  a teaspoonful  of  calcined  magne- 
sia. This  will  dissolve  in  the  sun.  If  too  thick, 
the  quantity  of  turpentine  may  be  increased. 
It  may  be  used  upon  a freshly-painted  picture, 
and  will  dry  quickly. 

The  varnish  made  from  Canada  balsam  diluted 
with  turpentine  is  bad.  It  grows  dark  and  is 
difficult  to  remove. 

The  following  precaution  is  recommended 
before  varnishing  a picture,  and  the  process 
is  also  serviceable  in  removing  the  greasy 
surface  that  a picture  is  apt  to  acquire  if 
long  neglected : Peel  a raw  “ Irish  potato,” 
cut  it  in  slices  and  rub  it  over  the  face  of 
the  painting.  After  this,  wash  it  entirely  off 


HINTS  TO  YOUNG  PAINTERS. 


31 


with  pure  water  and  dry  it  with  a soft  chamois 
skin,  which  is  the  best  instrument  to  effect  the 
purpose. 

Mr.  Scarlet  (a  skilled  restorer  of  old  pictures) 
discovered  that  when  the  first  coat  of  varnish 
does  not  harden,  it  is  expedient  to  add  a second 
application. 

In  January,  1825,  while  on  a visit  to  Washing- 
ton, I made  a copy  from  a picture  painted  by 
my  friend,  Charles  King.  Being  obliged  to 
send  the  copy  to  Philadelphia  before  it  was 
quite  dry,  I covered  the  surface  with  egg  var- 
nish, to  prevent  the  action  of  stickiness  in  the 
paint  while  the  canvas  was  rolled  up.  (A  pic- 
ture should  always  be  rolled  with  the  painted 
side  outward .)  My  experiment  was  quite  success- 
ful. After  the  canvas  was  placed  on  a stretch- 
ing-frame in  Philadelphia,  I removed  the  egg 
varnish  by  the  application  of  pure  water  with  a 
soft  sponge,  and  the  picture  was  found  in  good 
order.  The  varnish  was  made  as  follows : One 
egg  (the  contents  of  the  shell  except  the  part 
called  the  eye),  lump  sugar  about  half  the  size 


X2 * _ . 


: v : v \ sa 


o I 


ssoiv 


2n\-as 


e 

3°  hY 


last  portion  of 


-» — i'Kpc 


E ~~  varnish  is  thus  prepared.  In  two  ounces 
o:  alcohol  dissolve  one-eighth  of  an  ounce  of 
lump  su^ar,  (a  piece  the  size  of  a 


and 


•:  ware  ; : an 


The  surar.  reduced 


to  a ocmder.  mixes  with  the  white  of  the  e^.  bv 


uo  into  a trotn  witn 
applied  with  a soft  ; 


^cohoL  Th< 


c r ue  to 


pic- 


wa 


nrsreu  a picture  wi 


horizontally.  I have  var- 
this  the  instant  it  was  drv. 


wed  wu 


a LUai 


ot 


wot. 

T„ 


bv  exposure  to 


at  once,  I ha 


ed 


e-mar  varnish  with  satisfaction.  I 


found  that  it  dried  too  quickly  unless  I used  lin- 
with  it.  and  I could  make  the  vehicle 


5ctr_  «j_ 
drr  as  s.rr 


as  l aesired  ov  r 


rat- 


ou  1 auued. 

r i 

rure  of  ou  an 


d I do  not 


'ton 


HCli 


wmcn  is 


best  to  paint  witn. 


HINTS  TO  YOUNG  PAINTERS. 


33 


is  rendered  more  pure  and  limpid,  by  dropping 
into  the  phial  some  grains  of  white  lead.  Cork 
it  tightly,  and  place  it  in  the  sun,  (fire  heat  will 
not  produce  the  proper  effect.)  Shake  it  often. 

Rembrandt  Peale  prepared  drying-oil  thus. 
In  an  eight-ounce  phial  put  two  tablespoonfuls 
of  gold  litharge,  and  fill  up  with  linseed  oil. 
Keep  it  exposed  to  the  sun,  or  near  the  fire,  for 
a few  days,  shaking  it  up  frequently.  Keep  it 
corked.  Finally  let  it  settle,  and  decant  the 
clear  oil. 

After  the  drying-oil  has  been  made  a month, 
(unless  it  has  been  frequently  well  shaken,)  it  is 
no  longer  in  a fit  state  to  use  in  making  mac- 
gmlp. 

In  order  to  force  the  colors  to  dry,  Sir  William 
Beechey  used  a mixture  of  nut  oil,  mastic  var- 
nish and  sugar  of  lead,  well  shaken  together 
and  allowed  to  settle.  He  employed  this  only 
for  light  colors. 

In  using  asphaltum  very  freely, — a color  which 
is  generally  slow  to  dry, — I have  found  it  to  be 
a good  expedient  to  drop  some  “severe  dryer ” 


34 


HINTS  TO  YOUNG,  PAINTERS. 


in  the  macguilp  employed.  Had  I mixed  the 
dryer  with  the  paint  itself,  it  would  have  soon 
become  hard  upon  my  palette. 

Whilst  on  the  subject  of  liquids  used  in  paint- 
ing, I would  refer  to  the  use  of  dryers,  which 
are  necessarily  employed  with  certain  colors,  or 
these  would  take  too  long  a time  in  becoming 
hard.  Ivory  black,  Vandyke  brown,  lake  and 
(if  used  alone)  vermilion,  require  the  aid  of  a 
dryer.  Many  artists  have  used  sugar  of  lead 
prepared  in  various  ways,  but  I prefer  to  use 
what  is  called  “ severe  dryer.”  A few  drops 
mixed  in  a lump  of  color  as  large  as  a chestnut 
will  be  found  a sufficient  quantity. 

For  the  purpose  of  painting  over  a discarded 
picture  which  I wished  to  prepare  for  a new  pic- 
ture, I have  used  white,  ground  up  in  skimmed 
milk.  I have  also  used  it  to  prepare  a new  can- 
vas, using,  after  the  first  coat  of  paint,  pumice 
stone  to  reduce  the  lumps  in  the  threads  of 
the  canvas.  Three  coats  of  paint  are  quite 
enough.  If  the  “absorbent  ground,”  which  it 
makes,  is  objected  to,  a brushing  over  the  sur- 


HINTS  TO  YOUNG  PAINTERS. 


35 


face  with  linseed  oil  will  make  it  a “resisting 
ground.” 

I have  noted  that  the  full-length  portrait  of 
my  wife  with  her  favorite  dog,  (dated  1841,)  was 
painted  on  a canvas  prepared  by  myself  with  a 
ground  of  white  lead  and  skimmed  milk,  and  as 
no  change  has  yet  (1867)  shown  itself,  I will 
record  my  mode  of  preparation. 

I procured  Russia  sheeting,  and  after  stretch- 
ing it  on  the  frame,  I gave  it  a coat  of  white  lead 
ground  in  skimmed  milk  to  the  consistency  of 
ordinary  paste.  I then  used  the  pumice  stone 
to  subdue  the  knots  or  irregular  places  on  the 
surface.  Then  I followed  with  a second  coat 
of  the  paste,  and  in  order  to  distinguish  it  from 
the  first  coat,  I tinted  it  very  slightly  with  ver- 
milion. This  preparation  pleased  me  entirely. 
It  is  now  1867  and  I have  not  found  any  fault 
with  it. 

Charles  Wilson  Peale  prepared  canvas  in  the 
following  manner.  Isinglass  (fish-glue)  pounded 
on  a flat-iron  into  small  pieces.  Let  it  stand 
all  night  in  water.  In  the  morning  put  it  on 


36 


HINTS  TO  YOUNG  PAINTERS. 


the  fire  to  boil ; there  should  be  as  much  isin- 
glass to  the  water  as  will  form  a jelly,  after 
it  has  boiled  and  been  allowed  to  cool.  The 
canvas  must  be  wet  and  pumiced  to  render  the 
surface  even.  The  jelly  should  be  laid  on  with 
a large  spatula,  (Mr.  Peale  had  one  made  of 
wood  for  the  purpose.)  After  the  jelly  has  dried 
on  the  canvas,  cover  the  surface  with  a coat  of 
the  required  color ; and  when  that  coat  is  nearly 
dry , flatten  the  surface  with  the  spatula.  In 
this  process  no  brush  is  necessary. 

Washington  Alston  told  me  that  his  picture 
of  “ Elijah  in  the  Wilderness  fed  by  the  Ravens,’' 
(one  of  his  best  works,)  was  painted  with  colors 
ground  in  skimmed  milk.  After  having  ad- 
vanced his  work  as  far  as  he  could  with  these 
means,  he  varnished  with  copal,  and  then  finished 
with  ordinary  oil  colors. 

Charles  Leslie  made  free  use  of  macguilp, 
even  in  beginning  his  pictures.  So  did  Chap- 
man. 

I am  persuaded  that  it  would  be  a useful 
practice  in  oil  painting,  in  order  to  obtain  fresh- 


HINTS  TO  YOUNG  PAINTERS. 


37 


ness  and  decision,  to  copy  from  pictures  painted 
in  water  colors. 

I have  found  that  the  following  is  a pro- 
portionate division  of  the  field  of  the  canvas. 
30  by  25  inches.  For  the  portrait  of  a man 
of  ordinary  stature,  (say  5 feet  10  inches,)  let 
the  corner  of  the  eye  be  distant  from  the  top 
of  tne  canvas  9^  inches.  For  a female  of 
average  height,  (say  5 feet  3 inches,)  let  the 
corner  of  the  eye  be  10  inches  from  the  top  of 
the  canvas.  This  distance  must  be  diminished 
or  increased,  as  the  sitter  may  be  above  or 
below  the  statures  indicated. 

Sir  Joshua  Reynolds  preferred  using,  for  the 
first  sitting  for  a portrait,  only  white,  yellow, 
vermilion  and  black  in  the  flesh. 

In  speaking  of  likeness  in  portrait-painting, 
Wilkie  once  said  to  me  that  “it  was  well  to 
increase  the  beauty  of  the  complexion  and  give 
the  appearance  of  youth,  as  this  in  a measure 
compensated  for  the  want  of  life  and  motion/' 

In  a portrait  every  part  may  be  exactly  ren- 
dered, but  should  be  kept  subordinate  in  regard 


33 


HINTS  TO  YOUNG  PAINTERS. 


to  the  face.  From  long  experience  I know  that 
resemblance  in  a portrait  is  essential;  but  no 
fault  will  be  found  with  the  artist,  (at  least  by 
the  sitter,)  if  he  improve  the  appearance. 

Sir  Thomas  Lawrence  was  accustomed  to 
paint  his  common  size  portraits  placed  in  a 
broad  flat  frame  painted  yellow,  which  defended 
the  edge  of  the  canvas,  and  helped  him  to  de- 
termine how  much  yellow  should  be  in  the 
picture.  Lawrence  oiled  out  the  ground  when 
proceeding  with  his  work.  He  was  very  exact 
and  particular  with  the  outline ; more  so  than  any 
painter  with  whose  process  I am  acquainted. 

Washington  Allston  always  preferred  an  old 
picture-frame  to  the  glaring  glitter  of  a new 
one. 

It  seems  to  me  that  if  the  refinement  of  a 
portrait  is  carried  too  far,  the  identity  of  the 
sitter  may  be  lost ; it  then  ceases  to  be  valu- 
able as  a likeness,  whatever  it  may  be  as  a 
picture. 

Mr.  Trott  (an  ingenious  miniature-painter  who 
was  very  intimate  with  Gilbert  Stuart)  told  me 


HINTS  TO  YOUNG  PAINTERS. 


39 


that  Stuart  recommended  to  the  painter,  to  draw 
that  side  of  the  face  at  which  the  nose  presents 
its  handsomest  outline.  I myself  have  heard 
Stuart  say  that  he  considered  the  nose  the  most 
important  feature  in  giving  the  likeness  to  a 
portrait.  I am  sorry  to  differ  in  opinion  from 
so  great  a master,  but  my  experience  does  not 
prove  it  to  be  so.  I believe  the  mouth  to  be 
the  most  important  feature  in  forming  the  re- 
semblance. 

When  I visited  Allston  in  1835,  he  mentioned, 
in  the  course  of  a conversation  upon  art,  that 
his  method  in  painting  was  much  more  simple 
than  formerly.  He  had  in  a great  degree  ban- 
ished process,  finding  it  better  to  use  the  simplest 
means  to  produce  an  effect  of  color.  He  dis- 
approved of  using  raw  umber  in  flesh  tints, 
(a  color  much  used  by  me.)  He  preferred,  as 
a shade  tint,  a mixture  of  Indian  red  or  ver- 
milion, Antwerp  blue  or  blue-black,  and  yellow 
ochre  and  white.  He  never  used  Prussian  blue. 
He  employed  Naples  yellow  in  flesh,  also  Ve- 
netian red. 


40 


HINTS  TO  YOUNG  PAINTERS. 


After  this  conversation,  I for  some  time  aban- 
doned the  use  of  raw  umber,  but  finally  replaced 
it  on  my  palette,  and  have  found  no  reason  to 
regret  it. 

Talking  of  the  motion  of  waves,  Allston  re- 
marked that  the  water  always  breaks  in  an 
angular  form ; 


Sir  Martin  Archer  Shee  condemned  the  use 
of  yellow  ochre  in  flesh.  He  considered  burnt 
terra  sienna  quite  yellow  enough,  and  for  a very 
swarthy  complexion  he  glazed  over  the  flesh 
with  asphaltum,  and  while  glazing  retouched 
with  a set  of  colors  prepared  for  the  purpose. 
Umber  he  discarded.  Venetian  red  was  a favor- 
ite color  in  flesh,  also  lake.  For  the  sake  of 
durability,  he  thinks  that  glazing  should  be  spa- 
ringly used.  He  observed  to  me  that  as  colors 
were  liable  to  change  to  a yellow  or  brown  hue, 
due  allowance  should  be  made  for  this  in  the 
first  instance. 


HINTS  TO  YOUNG  PAINTERS. 


41 


It  is  recommended,  in  imitating  a dark  com- 
plexion, to  mix  asphaltum  with  white,  and  to 
use,  in  preparing  your  palette,  only  the  white 
thus  reduced. 

Benjamin  West  advised  the  use  of  Spanish 
brown  mixed  with  white,  as  a flesh  tint.  By  a 
sort  of  accident  I have  made  use  of  it  in  one 
or  two  portraits,  and  have  found  it  an  excellent 
color.  I believe  it  will  not  change. 

I have  had  occasion  to  remark  that  sober 
colors,  employed  in  a large  picture,  produce 
great  richness. 

In  retouching  flesh  tints,  I find  it  better  to 
prepare  the  surface  by  scumbling  the  lights  and 
glazing  the  shadows,  than  by  oiling  the  surface, 
since  oiling  where  the  new  paint  has  not  touched 
it,  will  become  yellow  after  a time.  The  practice 
of  scumbling  and  glazing  may  often  be  repeated 
with  advantage  to  the  picture ; it  will  give  soft- 
ness and  depth  of  effect.  Even  the  hair  will  be 
much  improved  in  silkiness  of  texture  by  this 
treatment. 

Allston  strenuously  recommended  solid  paint- 


42 


HINTS  TO  YOUNG  PAINTERS. 


ing  in  tinting  flesh,  especially  for  a large  picture 
to  be  seen  at  a distance.  “ Paint/’  said  he,  “ pure, 
decided  tints ; if  they  are  too  raw,  you  may  cor- 
rect them  by  scumbling.  Glaze  at  pleasure.” 
Again  he  said,  “Never  use  brown  drapery  to 
a dark  or  yellow  complexion ; it  will  make  it 
look  like  a snuff-bag.”  He  recommended  me 
to  use  a very  slight  glazing  or  toning  over 
every  portrait  I painted.  Generally  speaking, 
he  thought  asphaltum  most  fit  for  the  purpose. 
Any  opinion  on  the  subject  of  painting  from 
Allston,  is  entitled  to  grave  consideration. 

I found  that  beeswax  was  sometimes  used 
by  the  English  painters,  prepared  by  boiling 
the  honeycomb  and  extracting  the  wax  with 
care.  Next,  it  is  bleached  in  the  sun,  in  ordei 
to  mix  it  with  mastic  varnish,  with  which  it  is 
used  in  painting.  It  should  be  melted  by  itself 
and  the  varnish  poured  upon  it.  If  a small 
lump  of  this  mixture  is  united  with  the  white 
paint,  all  the  other  colors  of  the  palette  will,  in 
painting,  partake  of  it.  No  other  liquid  must 
be  used  while  painting  with  this. 


HINTS  TO  YOUNG  PAINTERS . 


43 


In  April,  1822,  I made  a copy  from  Hogarth’s 
“ Gate  of  Calais,”  and  painted  most  of  the  pic- 
ture in  colors  tempered  with  wax;  especially  the 
figure  of  the  Scotchman,  which  (except  a slight 
effect  of  burnt  umber  in  the'commencement) 
was  entirely  painted  with  wax  in  the  colors, 
prepared  as  follows : — To  a dessert  spoonful  of 
mastic  varnish  add  a piece  of  bleached  wax, 
melted  by  the  fire ; when  cold,  the  mixture  will 
form  a thin  jelly,  which  may  either  be  used  as 
a macguilp,  by  tempering  it  with  oil,  or  with  the 
colors  ground  in  oil.* 

Sir  William  Beechey  had  a custom  of  tem- 
pering his  colors  with  a mixture  of  japan ner’s 
gold-size  and  turpentine.  He  usually  declined 
the  use  of  any  liquid  in  which  to  dip  his  brush, 
preferring  to  temper  his  color  with  the  palette- 
knife.  When  finishing  a picture,  no  matter  how 
large  it  might  be,  he  brushed  it  over  with  a 

* Mr.  Sully  has  left  no  record  of  the  result  of  this  method  as  far  as 
the  “ Gate  of  Calais  ” is  concerned ; but  he  painted  one  other  picture, 
(a  family  portrait,)  in  the  same  manner,  and  in  fifty  years  (1872)  the 
colors  flake  off,  defying  all  efforts  at  restoration  or  cleaning. 


44 


HINTS  TO  YOUNG  PA  TNTERS. 


mixture  of  spirits  of  turpentine  and  drying-oil, 
adding  upon  this  the  gold-size  and  turpentine, 
upon  which,  while  they  are  moist,  he  retouched 
the  work.  The  process  served  as  a varnish. 
I feel  persuaded  The  practice  is  bad.  Benjamin 
West  tried  this  process  upon  his  picture  of 
“ Christ  Healing  the  Sick,”  and  the  evil  result 
of  it  is  now  visible. 

Toning  the  picture  is  a general  practice. 
Beechey  always  oiled  the  surface  slightly  be- 
fore toning.  Sometimes  he  used  burnt  sienna 
(very  thin),  oiling  again  as  soon  as  it  was  dry, 
and  then  toning  a second  time  with  a mixture 
of  blue,  lake  and  brown,  making  an  ink  color. 
In  this  process  the  brush  should  be  moved  from 
corner  to  corner. 

Trumbull  condemned  the  practice  of  toning 
pictures,  and  thought  a better  plan  to  produce 
a desired  hue  in  the  work,  was  to  mix  with 
white  a tint  of  the  required  tone,  and  while 

t 

painting  the  picture  to  use  no  other  white  than 
this  on  your  palette. 

Correggio  generally  painted  on  a ground  of 


HINTS  TO  YOUNG  PAINTERS. 


45 


pearly  tint,  composed  of  Indian  red,  black  and 
white. 

Titian’s  grounds  were  usually  of  burnt  umber 
and  white,  which  is  the  nearest  approach  to  the 
half  tint  of  nature. 

Rubens  used  a white  ground,  and  his  color- 
ing, which  is  uncommonly  rich,  is  like  metal, 
compared  with  the  truth  and  purity  of  Titian. 

The  English  painters  in  the  early  part  of  this 
century  employed  absorbent  grounds ; and  near- 
ly all  imported  canvases  now  are  absorbent. 

I inspected  carefully  the  manner  pursued  by 
Rubens  in  the  conduct  of  a picture.  The  fairest 
fl£sh  tints  were,  in  the  high  lights,  Naples  yellow 
and  white,  going  off  into  shadow  by  mixing  with 
the  neutral  tint  (composed  of  black,  white  and 
vermilion,  or  Indian  red).  The  next  degree  of 
shadow  is  of  this  neutral  tint  and  Venetian  red, 
and  the  darkest  shade  is  a mixture  of  burnt 
' umber  and  Venetian  red.  Over  this  are  broken 
some  tints  of  blue  and  white.  The  olive  and 
white  in  the  half  shadows,  and  the  same  with  a 
burnt  sienna  hue.  The  Venetian  red  and  white 


4 6 


HINTS  TO  YOUNG  PAINTER* 


is  broken  here  and  there  over  the  flesh,  which 
gives  a true  effect.  An  arm  had,  in  the  finishing, 
some  blue  and  white  scumbled  thinly  over  the 
light,  and,  while  wet,  some  touches  of  Venetian 
red  and  white  wrere  broken  into  it,  as  on  the 
elbow,  wrist  and  'fingers.  The  next  degree  of 
darker  flesh  had  the  broad  light  of  Venetian  red 
and  white  going  into  shade  by  use  of  the  olive 
tint ; this,  again,  strengthened  with  Venetian  red, 
for  the  half  shade.  The  extreme  dark  shade  in 
the  flesh  is  of  burnt  umber  and  Venetian  or 
Indian  red.  The  first  shade  (the  olive  tint)  is 
corrected  with  the  neutral  tint.  Very  dark  flesh 
is  of  burnt  brown  ochre  and  white,  for  the  broad 
tint ; the  high  light  of  brown  ochre  and  white. 
The  half  shade  is  of  the  olive  tint,  and  the  ex- 
treme dark,  of  burnt  umber  and  Indian  red. 

In  comparing  the  different  works  of  Rubens 
I have  seen  in  London  and  Paris,  I could  not 
detect  in  his  method  any  toning  over  flesh. 

After  a strict  examination  of  the  best  pictures, 
the  benefit  to  be  derived  from  them  is  to  draw 
such  conclusions  as  may  in  future  serve  for  fixed 


HINTS  TO  YOUNG  PAINTERS. 


47 


rules  of  practice,  taking  care  not  to  be  amused 
with  trifles,  but  learning  to  regard  the  excel- 
lences chiefly.  In  every  picture  an  artist  should 
consider  from  whence  that  fine  effect  or  that  ill 
effect  proceeds.  Thus  every  picture,  good  or 
bad,  may  conduce  to  his  profit. 

Sometimes  a painter  by  seeking  for  attitudes 
too  much,  becomes  cold  and  insipid,  or  affected. 
This  is  the  case  with  those  who  would  have 
every  figure  in  fine  action ; they  lose  sight 
of  nature. 

In  general,  all  the  shadows  should  be  of  one 
color,  and  the  lights  only  to  be  distinguished  by 
different  tints ; at  least  it  should  be  so  when  the 
background  of  the  picture  is  dark. 

Benjamin  West  made  his  preparatory  sketches 
on  paper  with  burnt  umber  and  a reed  pen,  put- 
ting in  the  effect  also  with  the  umber.  Next,  he 
brushed  over  with  size,  and  then  retouched  with 
oil  colors. 

For  sketches,  or  even  for  studies,  in  oil  colors, 
I find  it  has  answered  well  to  paint  with  colors 
that  have  been  ground  in  but  little  oil.  In  paint- 


48 


HINTS  TO  YOUNG  PAINTERS. 


ing  with  these,  dilute  them  with  spirits  of  turpen- 
tine, and  use  the  preparations  as  if  they  were 
water  colors.  Such  sketches  were  frequently 
made  by  Wilkie.  He  showed  me  several  which 
were  in  his  portfolio  with  engravings  and  draw- 
ings, and  they  were  wholly  free  from  the  sticki- 
ness that  always  accompanies  mere  oil  colors. 

The  best  panels  for  the  painter’s  use  are 
made  of  oak  or  of  straight-grained  mahogany. 
Poplar  panels,  when  used  at  all,  should  be 
painted  on  the  back  and  edges.  Poplar  is, 
however,  a treacherous  material.  It  is  apt  to 
warp  or  split.  It  will  shrink  ; and  if,  as  is  some- 
times the  case,  there  is  a knot  in  the  wood,  this 
knot  will  probably  contain  turpentine,  which  will 
penetrate  any  covering  of  paint,  even  though  it 
should  be  an  inch  thick. 

The  evil  effect  of  a very  small  knot  in  the 
panel  can  be  overcome,  it  is  said,  by  rubbing 
the  place  with  garlic,  before  painting,  but  I 
should  not  like  to  trust  to  this  expedient. 

Grind  white  in  spirits  of  turpentine,  and  drop 
in  about  one-fifth  part  of  copal  varnish.  This 


HINTS  TO  YOUNG  PAINTERS. 


49 


mixture  was  used  by  Shaw  to  load  the  promi- 
nent lights  of  his  pictures,  which  is  best  done 
when  the  outline  is  fixed.  I used  it  with  great 
satisfaction  in  the  large  picture  I painted  of 
“ Washington  Crossing  the  Delaware,”  (now  in 
the  Boston  Museum,)  and  in  1851  it  has  not 
failed,  although  painted  many  years  ago. 

Trumbull  resorted  to  an  odd  expedient  to 
protect  his  pictures,  in  the  Capitol  at  Wash- 
ington, from  the  dampness  of  the  walls.  He 
covered  the  back  of  the  canvases  with  a thick 
coat  of  beeswax  dissolved  in  spirits  of  turpen- 
tine. The  solution  when  cold  was  as  thick  as 
a jelly. 

At  Hartford  I once  saw  in  the  possession  of 
Daniel  Wardsworth,  Esq.,  a picture  painted  by 
Trumbull  when  he  was  eighteen  years  of  age, 
and  it  was  quite  fresh-looking.  It  had  been 
painted  with  only  drying-oil  and  turpentine,  and 
had  lasted  many  years  unchanged. 

Good  tracing-paper  is  made  by  dissolving 
rosin  in  spirits  of  turpentine.  Brush  the  mix- 
ture over  tissue-paper,  and  hang  it  on  a line 


50 


HINTS  TO  YOUNG  PAINTERS. 


to  dry.  Both  sides  of  the  paper  should  be 
coated  with  the  mixture. 

Brushes,  when  not  in  use,  may  be  protected 
from  the  ravages  of  the  mot'h  by  dipping  them 
slightly  in  olive  oil. 

The  painter  in  water  colors  should  use  dis- 
tilled or  rain  water.  Rose  water  is  safe  and 
agreeable. 

In  the  year  1823,  being  on  a visit  to  Balti- 
more, Mr.  Robert  Gilmore  lent  me  a letter 
which  he  had  received  from  Sir  Thomas 
Lawrence  (dated  London,  1820)  on  the  sub- 
ject of  art,  and  accompanying  two  portraits 
which  he  had  painted  of  Mr.  and  Mrs.  Gil- 
more. The  following  is  an  exact  copy  of  its 
contents : 

“I  have  at  length  the  pleasure  to  send  you 
the  pictures,  on  the  finishing  of  which  I have 
bestowed  more  time  than — unless  you  are  well 
acquainted  with  the  difficulties  of  art  in  the  prac- 
tice of  self-distrusting  artists — you  would  readily 
imagine.  You  must  forgive  me  if,  considering 
these  portraits  to  be  of  my  best  productions, 


HINTS  TO  YOUNG  PAINTERS.  5 1 

1 appear  a little  solicitous  about  their  fate  when 
you  receive  them,  and  send  you  one  or  two 
directions  to  be  observed  on  their  arrival.  When 
the  case  is  opened,  let  the  pictures  be  placed 
for  two  or  three  days  in  the  open  air,  but, 
observe,  the  sun  may  not  visit  them.  Let 
them  be  carefully  washed  with  a sponge  and 
rather  warm  water,  and,  as  carefully,  imme- 
diately dried. 

“ As  the  varnish  might  possibly  be  chilled  on 
the  voyage,  I have  sent  them  unvarnished,  and 
the  pictures  will  be  the  better  for  it.  Let  them 
be  varnished  with  simple  Mastic  Varnish,  in  pro- 
curing which  I cannot  but  think  it  advisable  to 
have  the  assistance  of  a good  chemist,  instead 
of  trusting  for  it  to  a common  color-shop.  The 
Mastic  should  be  picked  from  the  finest  part 
of  the  gum.  I should  wish  to  ’be  indebted 
to  some  ingenious  artist  for  the  trouble  of 
varnishing  them,  for  he  would  do  it  with 
more  care  and  delicacy  than  others ; I will  re- 
turn the  service  when  his  pictures  arrive  in 
England. 


4 


52 


HINTS  TO  YOUNG  PAINTERS. 


“ If,  before  they  are  hung  up,  you  wish  to 
show  them  to  your  friends  for  their  inspection, 
let  them  be  so  placed  that  the  light  may  fall 
upon  them  from  the  left  of  the  spectator,  (no 
matter  on  which  side  it  appears  to  come 
in  the  picture,)  and  forming  an  angle  to  that 
light.  And  when  they  are  to  be  hung  up,  re- 
member that  a light-blite , gray  or  drab-colored 
ground  is  the  most  unfavorable  for  pictures.* 
My  thus  attempting  to  give  them  every  ad- 
vantage when  they  arrive  at  their  place  of 
destination  is  but  the  extension  of  that  solici- 
tude to  make  my  works  as  nearly  perfect  as 
my  defective  ability  permits,  which  I may  with 
truth  say,  has  never  left  me  for  the  last  fifteen 
years  of  my  professional  life. 

“ The  art  may  be  pursued  creditably  with  little 
of  present  effort  on  the  knowledge  required  by 
easy  practice ; but  its  highest  enjoyment  is  lost, 
and  its  future  recompense  a dream,  unless  it 
tasks  the  full  exertion  of  the  faculties.  It  is, 

* Lawrence  preferred  a crimson  or  strawberry-colored  wall  for  bis 
pictures. 


HINTS  TO  YOUNG  PAINTERS. 


53 


perhaps  more  than  any  other  pursuit,  that 
figurative  stream  on  which  no  one  can  remain 
stationary  with  suspended  oar.  Inculcate  this 
truth,  my  dear  sir,  to  any  young  man  whose 
merit  may  deserve  and  whose  circumstances 
may  need  your  patronage.  (To  experienced 
artists  I do  not  presume  to  speak,  for  I know 
I hut  use  their  language.)  Tell  him  that  one 
concentrated  effort  toward  successful  completion 
is  worth  a hundred  sketches,  and,  above  all,  that 
in  the  correction  of  his  defects,  he  must  be  con- 
tent to  see  with  the  eyes  of  others,  (so  that  his 
selection  of  advisers  be  good,)  and  even  to  do 
violence  to  his  own  perceptions,  since  it  was 
originally  from  their  error  that  the  fault  existed. 
Believe  me  that  the  most  valuable  present  you 
can  make  to  a young  man  of  real  merit,  is  the 
Works  of  Sir  Joshua  Reynolds  ; I mean  his  Dis- 
courses and  his  Journal  to  the  Low  Countries. 
These,  which  are  in  no  part  infested  with 
idle,  fanciful  theories,  will  elevate  his  notions 
to  the  true  philosophy  of  art,  even  in  its  infe- 
rior department,  and  emancipate  his  mind 


54 


HINTS  TO  YOUNG  PAINTERS. 


from  the  thraldom  of  those  narrow  conceptions 
with  which  the  infancy  of  art  has  so  long  to 
struggle. 

‘ For  he  who  servilely  creeps  after  sense, 

Is  safe,  but  ne’er  arrives  at  excellence.’ 

“These  are  the  lines  of  one  of  our  Poets,  and 
they  apply  as  forcibly  to  the  painters’  art. 

“ I feel  a grateful  interest  in  the  progress  of 
painting  in  America ; I hope  I have  a desire  for 
it  everywhere.  But  I am  deeply  sensible  to 
obligation,  and  from  America  I have  received 
an  unsolicited  professional  distinction  which  has 
been  rendered  more  valuable  to  me  by  the 
commissions  which  accompanied  it,  and  the 
hands  through  which  it  was  conveyed.  I wish 
that  the  few  efforts  of  my  pencil  that  I send  to 
it  would  better  convey  my  sense  of  the  high 
honor  it  has  done  me,  and  better  justify  its 
kindness ; but  if  any  practical  attention  to  my 
advice  may  aid  the  authority  of  great  names, 
and  make  the  opinions  of  Reynolds  the  standard 
of  criticism  and  taste  in  the  better  circles  among 


HINTS  TO  YOUNG  PAINTERS. 


55 


you,  the  defects  of  my  pencil  will  be  atoned, 
and  my  obligation  be  half  repaid. 

“Very  sincerely,  etc.,  etc., 

“T.  Lawrence.” 

* By  the  kindness  of  Mr.  Gilmore,  Mr.  Sully  was  permitted  to  copy 
one  of  these  pictures,  Mr.  G.’s  portrait.  It  was  copied  as  closely  as 
possible,  touch  for  touch,  and  is  now  in  the  possession  of  the  artist’s 
heirs.  The  original  is  pronounced  by  competent  judges  to  be  one  of 
Lawrence’s  noblest  works. 


